By Monica Sklar,
December 12th, 2008 at 5:00 am
(Uncategorized)
Site Highlight
Foto Decadent: Avant Garde Fashion Photography
I’ve really been enjoying this community journal of avant garde fashion photos. It reminds me of high school when I used to get W and other magazines and clip out the most beautiful and outrageous shots for inspiration. Plus I like that they say where the shots are from, the photographers, models and other relevant info. Someone might be able to do an interesting content analysis research study from a site like this one.-MS
Here are a few shots from the site:
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By Monica Sklar,
December 11th, 2008 at 5:00 am
(Exhibitions, Uncategorized)
“BASIC BLACK FASHION”
Through January 4 at the Wenham Museum [Wenham, MA], see how fashion’s attitude toward black has changed. In the nineteenth century, black was mainly associated with mourning; in the twentieth century, it was the favorite color for a party dress. Today black is in vogue for every occasion. View mourning jewelry and accessories for the widow along with flashier adornments for the party girl. Click here for details
(I chose this photo as there wasn’t one on their site-MS)
“CHINA DESIGN NOW”
Through January 11 at the Cincinnati Art Museum [Cincinnati, OH], this exhibit organized by the Victoria and Albert Museum explores the recent explosion of new design in China and attempts to understand the impact of rapid economic development on fashion, architecture, and design in China’s major cities. The fashion and lifestyle that has defined Shanghai, and the aspirations of middle class homeowners that serve as a major design driver will be examined. Works include haute couture by China’s designers Lu Kun and Ma Ke. Click here for details
This info was gathered via the Costume Society of America’s newsletter.
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By Heather Vaughan,
December 10th, 2008 at 5:00 am
(Uncategorized)
Profiles in History annual film memorabilia auction is tomorrow, December 11th and below are a few highlights (that I found interesting). A good number of costume sketches are included in this group, as well handlabeled pieces from Western Costume Company. Large collections of sketches by Edith Head, and by Bill Thomas. Hollywood portraits by George Hurrell. Portraits, original screen art and additional costumes are included. The auction house is selling many costumes worn by John Wayne, many from various Superman movies and TV shows as well as Robert Redford signature suit from The Sting, Marlon Brando “Colonel Kurtz” Tropical Army Coat from Apocalypse Now, and an Original khaki “Ghostbuster” jumpsuit from Ghostbusters.
Harrison Ford signature “Indiana Jones” fedora hat from Indiana Jones and the Temple of Doom (Lot #369)
Burt Ward “Robin” public appearance costume in the same style as worn in the TV series Batman (Lot #204)
“Burt Ward made public appearances throughout the United States for 35 years and commissioned Los Angeles-based tailor Emilio Fernandez to make his costumes over the years.” – from the catalog.
Anthea Sylbert costume design for Mia Farrow in Rosemary’s Baby, signed by Roman Polanski (Lot # 217)
Jack Nicholson gray three-piece pin stripe suit from Chinatown (Lot #2991)
Billie Burke green velvet fur-trimmed jacket from Western Costume Company (Lot #2981)
Arnold Schwarzenegger signature “T-800 Terminator” costume from Terminator 2: Judgment Day
Other non-costume, but certainly popular culture items included in the auction are highlighted here. (http://www.wftv.com/entertainment/18159884/detail.html#-)
Until Next Time,
Heather
www.fashionhistorian.net
Heather is a contributor to the newly released Greenwood Encyclopedia Clothing through American History, 1900 to the Present.
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By Monica Sklar,
December 9th, 2008 at 5:00 am
(Jobs, Uncategorized)
1.
Smithsonian Postgraduate Fellowships in Conservation of Museum Collections
The Smithsonian’s Office of Fellowships has announced one-year fellowships for recent graduates of masters programs in art and archaeological conservation or for conservation scientists to conduct research and gain further training at the Smithsonian in the conservation of objects in its collections. The fellowship begins in the fall of 2009. A stipend of $32,000 is being offered plus allowances.
The prospective fellow must first contact the conservator or scientist with whom he or she would like to work. If the potential supervisor confirms that candidacy is suitable, application must be made through the Office of Fellowships. Program guidelines, instructions, cover sheets, and letters for your referees are available on the Office of Fellowships’ web site
The deadline is January 15, 2009.
Click here for more details.
2.
The John B. Hurford Humanities Center of Haverford College invites applications for a two-year Mellon Post-Doctoral Fellowship in the Humanities to begin Fall 2009
We seek scholars interested in material and visual culture. Area of specialization is open, but might include performance studies, psychology, cultural history, anthropology, literary, sociology, religious and/or cultural studies. Scholars with broad historical and interdisciplinary concerns are encouraged to apply. During the first year of the program, the Mellon Post-Doctoral Fellow will participate in a year-long faculty seminar led by Professor Ken Koltun-Fromm (Religion) entitled “Material Identity,” an exploration of the complex ways that persons do things with things, and so perform collection and personal identity. In the second year, the Fellow will organize and present a spring symposium funded by the Humanities Center.
During each of the four semesters of his or her time at Haverford College, the Fellow will teach one course at the intermediate or advanced level. Applicants should submit two brief course proposals related to their area of interest, one for a broad-based introductory course, the other for a more specialized or advanced course.
Candidates who have received the Ph.D. in 2004 at the earliest, or who have completed the requirements for the Ph.D. by the application deadline of January 30, 2009 are eligible. Please submit a letter of application, curriculum vitae, two course proposals and a writing sample of no more than 25 pages, and arrange for three letters of recommendation to be sent to:
Emily Carey Cronin
Associate Director
John B. Hurford ’60 Humanities Center
Haverford College
370 Lancaster Avenue
Haverford PA 19041
610-896-1336
Email
Click here for more details.
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By Monica Sklar,
December 9th, 2008 at 5:00 am
(Uncategorized)
Assistant/Associate Professor – Design Historian
Cleveland Institute of Art, Ohio
The Cleveland Institute of Art seeks qualified applicants for a full-time ranked faculty position as a Design Historian at the undergraduate level to teach design and craft since the 18th century. Courses will include a survey of design in modern, post-modern, and contemporary culture, stressing the emergence and development of industrial design; graphic and information design; interior design; and movements in the crafts. Candidate will also teach advanced courses relevant to practicing designers today, including the politics and social history of design; consumerism; globalization; and sustainability issues.
Position requirements:
Desired candidates must hold a Ph.D. and have college teaching experience.
All full-time ranked faculty members are expected to participate in departmental and school-wide committees, curriculum development, advising of undergraduate students, and assessment of programs.
Interested candidates must submit a letter of interest summarizing qualifications and teaching philosophy, CV, examples of course syllabi, a list of 3 references with contact information, and a SASE for return of materials to:
Design Historian Search
Attn: Tanya Lee Shadle
The Cleveland Institute of Art
11141 East Boulevard
Cleveland, OH 44106
Position begins August 2009. The department’s review of candidates’ credentials is scheduled to begin immediately and will continue until the position is filled. Incomplete and online applications will not be reviewed. Interviews at CAA Conference will be conducted by appointment only. Academic transcripts and background check authorizations will be required for finalists. The Institute offers a competitive salary and comprehensive benefits package. Rank and compensation are commensurate with experience and qualifications.
For further information email Tanya Lee Shadle or visit the website
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By Monica Sklar,
December 5th, 2008 at 5:00 am
(Book Reviews, Uncategorized)
I had a previous post on scholarship about Jewish dress and at ITAA I saw that Berg actually has two books on the subject:
1.Jews and Shoes
by Edna Nahshon
The blurb says,
“Shoes are an integral part of Jewish material culture. Although they appear in some of the most foundational biblical stories, they are generally regarded as no more than lowly, albeit essential, accessories. Jews and Shoes takes a fresh look at the makings and meanings of shoes, cobblers, and barefootedness in Jewish experience. The book shows how shoes convey theological, social, and economic concepts, and as such are intriguing subjects for inquiry within a wide range of cultural, artistic, and historic contexts. The book’s multidisciplinary approach encompasses a wide range of contributions from disciplines as diverse as fashion, visual culture, history, anthropology, Bible and Talmud, and performance studies. Jews and Shoes will appeal to students, scholars and general readers alike who are interested to find out more about the practical and symbolic significance of shoes in Jewish culture since antiquity.”
2. Broken Threads: The Destruction of the Jewish Fashion Industry in Germany and Austria
by Roberta S. Kremer
The blurb says,
“Broken Threads tells the story of the destruction of the Jewish fashion industry under the Nazis. Jewish designers were very prominent in the fashion industry of 1930s Germany and Austria. The emergence of Konfektion, or ready-to-wear, and the development of the modern department store, with its innovative merchandising and lavish interior design, only emphasized this prominence. The Nazis came to see German high fashion as too heavily influenced by Jewish designers, manufacturers and merchandisers. These groups were targeted with a campaign of propaganda, boycotts, humiliation and Aryanization. Broken Threads chronicles this moment of cultural loss, detailing the rise of Jewish design and its destruction at the hands of the Nazis. Superbly illustrated with photographs and fashion plates from the collection of Claus Jahnke, Broken Threads explores this little-known part of fashion and of Nazi history.”
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By Monica Sklar,
December 4th, 2008 at 5:00 am
(Exhibitions, Uncategorized)
“FROM RAGS TO RICHES: THE GLOBALIZATION OF FASHION THROUGH PRINT CULTURE”
Through December 12 at the Kresge Art Museum at Michigan State University [East Lansing, MI], this exhibit raises the question of how fashion has been used to allow people to claim cultural capital through expressions of affluence and multiculturalism. Click here for details
“DIANA’S DRESSES: DRESSES FOR HUMANITY II”
Through December 26 at the Lakeland Center [Lakeland, FL], this exhibit presents 18 outfits, including many of the highly visible day suits from the late Princess’s working wardrobe, which she wore during the last year of her life. Click here for details
Click here for virtual
tour
This info was gathered via the Costume Society of America’s newsletter.
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By Heather Vaughan,
December 3rd, 2008 at 5:00 am
(Exhibitions, History of Dress, Uncategorized)
Culled from the Costume Society of America E-News:
On the Boston Public Library’s website, this online exhibit depicts rare and precious fashion plates from the Boston Public Library’s collection of 125 years of high fashion. Beginning in 1795 with dresses inspired by classical Greece and Rome, it ends in 1920 with fashions based on modern art principles of cubism and abstraction. The era of fashion plates came to an end in the 1930s with the rise of fashion photography. At the turn of the twenty-first century, fashion magazines, television, and the worldwide web convey fashion information to a larger audience than ever before. For details visit:
http://www.bpl.org/research/rb/fashion/index.htm
The images are divided into six groups, primarily chronologically, from 1795-1920. They include images from Parisian Fashion Magazines, including a few by George Barbier. They include Men’s fashion, Eastern and European influences, and much more. Here are a few favorites:
Illustration from Gallery of Fashion, 1798
Illustration from La Mode Illustrée, 1875.
Illustration from Costume Parisien reprinted in Journal des Dames et Modes, 1825.
Illustration from Costume Parisien, 1823.
Illustration from Magasin des Demoiselles, 1880.
Illustration from Oriental Album, 1862
In addition to these resources from the Boston Public Library, I’ve also recently been made aware of another online photographic resource for fashion historians (by fashion historians). The newly created, Gotham Patterns Original Images Blog (http://gothampatternsphotos.wordpress.com/) posts a new image from their personal collection (focused generally between the 1860s and 1880s. The front and back of the image is posted, along with a description of the clothing worn in the photographs. Here are a few samples:
Feel free to let us know if you’ve come across a useful online resource for fashion historians.
Until Next Time,
Heather
www.fashionhistorian.net
Heather is a contributor to the newly released Greenwood Encyclopedia Clothing through American History, 1900 to the Present.
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By Monica Sklar,
December 2nd, 2008 at 5:00 am
(Jobs, Uncategorized)
Ontario College of Art & Design
Due Date 1 = Expressions of interest + curriculum vitae: December 5th
Final Due Date = Full applications: January 5th
ASSISTANT OR ASSOCIATE PROFESSOR, WEARABLE/MOBILE TECHNOLOGY AND INTERFACES
Applicants will bring both research and practical expertise in the creation of wearable technologies and interfaces such as apparel or jewellery. They will combine technical and creative skills with knowledge of materials and engineering. Candidates may approach wearable technologies from various perspectives. This position will work closely with OCAD’s Mobile Experience Laboratory and mobile research area as well as its programs in integrated media, textiles and jewellery. It is preferable that the successful candidate hold a Ph.D. in Computer Science or Engineering with strong design or wearable art or mobile interface practice. Exceptional candidates with an MFA or Master’s of Design in fashion and supplementary studies in engineering will be considered. Applicants will bring capacity in wearable systems creation, fashion and technology/engineering, and the ability to build physical interfaces to virtual systems.
ASSISTANT OR ASSOCIATE PROFESSOR, HUMAN/COMPUTER INTERACTION AND TANGIBLE INTERFACES
Applicants will bring experience in Human/Computer Interaction (HCI) with a focus on tangible interfaces or ethnography. It is preferable that the successful candidate hold a Ph.D. in cognitive science or computer science with an additional field in the humanities, social sciences or design. This position will work closely with OCAD’s studio-based programs on implementing tangible interfaces. Exceptional candidates with a Master’s in Fine Arts or Design and Engineering will be considered. They will have a significant record of supervising graduate students, be familiar with the interdisciplinary scholarship that encompasses HCI and have a history of collaboration with designers or artists. A successful track-record in research and industry collaborations is expected.
The successful candidates will:
·Assume a key role in building the interdisciplinary Digital Futures Initiative, contributing to teaching and program development at the undergraduate and graduate levels;
·be expected to develop strong, externally funded research programs and engage with cross-disciplinary research teams;
·be expected to participate in Faculty and university-wide governance systems, as well as other activities that contribute to the academic life of OCAD.
Unless otherwise noted, these positions are to commence with the 2009/10 academic year and are subject to budgetary approval. In light of the specialized nature of some of the positions, OCAD is open to considering secondments.
Candidates are expected to hold a doctoral degree or be close to completion. In some positions a degree at the master’s level combined with exceptional industry experience and credentials will be considered. They must have experience in the relevant art or design related discipline or in their area of research; a strong record of creative practice, research, scholarship and publication and/or exemplary professional practice; evidence of positive post-secondary teaching experience; and an aptitude for innovative curriculum development in a degree-granting art and design university.
Salary and rank will be commensurate with experience and qualifications.
Applications should include a letter outlining interests in the areas of teaching, research/practice, and service; a curriculum vitae; a digital portfolio of recent work where appropriate; and the names and contact information of at least three references submitted in confidence to the address listed below. We would like to receive expressions of interest by December 15th, including an electronic curriculum vitae. Full applications should reach us no later than Monday, January 5th. The review of applications will take place in stages with an eye toward inviting short-listed candidates to OCAD between mid January and late February.
DFI Program Development and Selection Committee
Ontario College of Art & Design
100 McCaul Street
Toronto, ON M5T 1W1
Fax: (416) 977-3034
E-mail
Web site
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